Honouring the Inevitable: ‘Tangles’ (2026) by Leah Nelson
SAN SEBASTIÁN 2026: The Canadian filmmaker adapts Sarah Leavitt’s autobiographical novel to create what is undoubtedly one of the best queer animated features of recent years.
Reviews
The Shape of Desire: ‘No Rest for the Wicked’ (2026) by Kasper Kalle
SITGES 2026: In his sophomore feature, Kasper Kalle moulds a Faroes-set Danish queer gothic out of a supernatural romance rooted in confinement, intimate suggestion, and anticipation.
Our Shared Reality: ‘Will You Still Be My Friend?’ (2026) by Lu Po-shun
SAN SEBASTIÁN 2026: The Taiwanese director’s solo feature debut is a subtle story on the complexity of queer childhood, all carved into an impressive piece of Taiwanese realism.
A Longing for the Upcountry: ‘Fruit Gathering’ (2026) by Aung Phyoe
KARLOVY VARY 2026: The Burmese director’s prize-winning debut feature traces the friendship and increasingly ambiguous relationship between two young women in the capital of Myanmar.
This Paradise Built in Hell: ‘Animol’ (2026) by Ashley Walters
KARLOVY VARY 2026: This directorial debut of the British TV star brings an unexpectedly queer story to the fore of a prison drama.
The Trespass of Intimacy: ‘Petty Thieves’ (2026) by Mate Ugrin
KARLOVY VARY 2026: The Berlin-based filmmaker transgresses the boundaries between closeness, seduction, fixation, and intrusion in his debut feature, set in a town overrun by tourism on the Croatian Adriatic.
The Gaze Always Leads: ‘Love Letters’ (2025) by Alice Douard
FRAMELINE50: With her feature debut, the César-winning French filmmaker makes her mark: rhythm, a camera that follows, and a story that’s close to home.
A Smothering Embrace: ‘The Holy Boy’ (2025) by Paolo Strippoli
KARLOVY VARY 2026: The young Italian filmmaker moulds a new face for folk horror in his newest work, which ties the monstrous to the act of repression.
Retracing Our Steps: ‘In a Whisper’ (2026) by Leyla Bouzid
FRAMELINE50: A young sapphic Tunisian woman living in Paris returns home for her uncle’s funeral, both entangling and disentangling the complexities of a familial diorama when she learns her uncle, too, was queer.
In the Mundanity of Understanding: ‘A Woman’s Life’ (2026) by Charline Bourgeois-Tacquet
CANNES 2026: Léa Drucker and Mélanie Thierry are fleeting lovers in this sophomore feature that rejects the manic trope of irresistible sapphic passion.